In Cherie Dimaline’s novel “Empire of Wild,” a compelling narrative unfolds as three generations of women strive to rescue a family member from the clutches of the werewolf-like Rogarou. Their mission is to bring back a missing husband and safeguard their territory from corporate interests. This story’s raw, alluring, and intense nature propelled it to the top book spot at Indigo in 2019, surpassing renowned titles like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of approximately $4 million is underway to transform Dimaline’s work into an opera. Spearheaded by an Indigenous-led creative team, the world premiere is scheduled for next spring in Toronto. This bold move aims to attract a younger audience and opera newcomers, potentially challenging traditionalists partial to the conventional repertoire.
“Empire of Wild” is set in the Georgian Bay Métis community of Penetanguishene, Ontario, reflecting Dimaline’s upbringing in the region. Composer Ian Cusson, also hailing from the same area, identified elements of the Rogarou from tales his mother shared. The collaboration between Dimaline and Cusson seeks to present contemporary characters that resonate with modern audiences, including LGBTQ+ individuals and a working-class family grappling with extraordinary circumstances.
The opera adaptation embraces modern dialogue, incorporating profanity and humor to mirror everyday conversations. Cusson likened the production to an intensified cinematic experience, embracing the story’s darker, horror-inspired aspects. The production’s innovative approach aims to resonate with younger viewers seeking engaging entertainment.
Elisabeth St-Gelais, an Innu soprano, embodies the lead character, Joan, who navigates personal struggles while searching for her missing husband. “Empire of Wild” delves into themes of power, resistance, and resilience, emphasizing the importance of intergenerational support along strong matrilineal lines. The narrative draws inspiration from Métis folklore, with diverse talents portraying its characters.
The opera showcases Indigenous artists portraying roles that convey universal truths of resilience and survival. The concept of “survivance,” blending survival and resistance, underscores Indigenous cultures’ ability to persevere and evolve despite historical challenges. The unique opera production led by Indigenous creators symbolizes a transformative era for Indigenous representation across various fields.
The collaborative approach to creating this opera, involving Indigenous talents such as Cree costume designer Jeff Chief and Algonquin director Yvette Nolan, embodies an inclusive circle of creativity. Each contributor, regardless of their role, is valued within the creative process, fostering an equality of voices. Cusson advocates for replicating this inclusive model in future opera productions, emphasizing its significance in fostering artistic excellence.
